Joseph Strutt, A biographical dictionary: containing an historical account of all the engravers, from the earliest period of the art of engraving to the present time ; and a short list of their most esteemed works, 2 vols., London 1785-1786

George Cumberland, An essay on the utility of collecting the best works of the ancient engravers of the Italian school; accompanied by a critical catalogue, with interesting anecdotes of the engravers, of a chronological series of rare and valuable prints, from the earliest practice of the art in Italy to the year 1549, now deposited in the British Museum and Royal Academy, in London, London 1827

The design for this print had been attributed to Perino del Vaga or Raphael. According to Bruce Davis, the latter's authorship is supported by his sketches for the side panels, preserved at Chatsworth, Devonshire Collection (see John Gere and Nicholas Turner, Drawings by Raphael, exhibition catalogue, London, British Museum 1983, nos. 124-125). Lawrence Nees demonstrated that the compositional format of the engraving was inspired by a type of small Roman relief called tabula iliaca (Nouvelles d'estampe, no. 40-41, 1978, pp. 18-29). The cenral scene is thought to be based upon a lost Raphael drawing, preserved in a copy in Bergamo, Accademia Carrara. For the print's iconography, see recently Marco Tabusso, 'Decido io, forse. Anzi, no. La stampa del Quos Ego' in Grafica d'arte, suppl. 71 (2007), pp. 4-7.